I haven’t written that much about mastering (aside from the somewhat exhaustive post about the process for me), so I wanted to write a few words about very attractive mastering prices and competition in the field. As I’ve been entering the field myself, I’ve seen a lot competition, stories about really low prices, crazy package deals, and some of that classic “My mate does it for a few pounds and a hot dog”.
Recently, another potential client got in touch with me and said he needs some songs mastered. He had got a quote from another mastering studio: 8 pounds per song. That’s not a lot. That’s roughly 11 EUR.
You can go for that by all means, Continue reading About “too attractive” mastering deals (and competition in the field)
Proud to be holding in my hands the first vinyl I’ve mastered. After having treated a few hundred digital masters, I had the honor of handling this beauty released by Boston-based Zakim Recordings.
Tunes are dope! Celebrate the divine wax.
I wanted to raise a point about loudness and mastering these days.
I was going thru some bigger label promos today and was struck by the same feeling I’ve got many times before: it’s too loud.
I know, I know – this is actually old news, and I’ve been happy to see a lot of artists and labels going for sound that’s way less crushed.
However, Continue reading A point about mastering / loudness these days
Some time ago I blogged about getting your sub bass right. Another thing worth mentioning relating to having a good sub is highpass-filtering the song – and being careful with it. Sometimes I see this done wrong in the premasters I receive for mastering, and thought writing about this might help producers to get the sub right. This mostly applies to “bass music” where the sub bass is lower than the kick and where we want to achieve the fat, full low end, but can definitely be used with other genres, too.
Why HP-filter your song? There’s two things.
1) To get rid of excess lows and rumble and to gain more headroom Continue reading About high-pass filtering your songs
It often happens that the sounds we use in music contain a bit of useless noise that only fills up the bandwidth. Our ears get so used to hearing our songs, we may not hear these things while we’re mixing, so this is a good way of removing what’s unnecessary. We end up getting all kinds of small things with funny resonance in our mix, and Continue reading How to find unwanted/ringing frequencies in your mix and carve them out?
Here’s a thought relating to sub bass in bass music – i.e., music where the sub bass usually sits below the kick on the frequency range. This doesn’t apply to genres such as rock or house, for example, for there you may have your kick lower than your bass in general.
In bass music, we want to have our sub strong enough around 40–60 Hz area, because that’s where the meat is. Continue reading Production: get your sub bass right!!